WEBVTT 00:00:00.000 --> 00:00:08.810 Will present our work as Jen already introduced and with the Korina excellent Paige Johnson, who are also here. 00:00:08.940 --> 00:00:11.450 And there, I'm sure they're looking forward to the discussion afterwards. 00:00:12.420 --> 00:00:17.910 Uh on migrant identity and affective positioning in UK charity refugee stories. 00:00:18.160 --> 00:00:30.850 So this work is a part has been funded by small pots of of money from the University of Liverpool, where we collected a small corpus of blog posts from websites of UK based charter organizations. 00:00:31.360 --> 00:00:56.830 But it is also a result of an indirect result, let's say of my involvement and korina's involvement with the TRACE project and a Greek funded project that the explored and or so to trace and racing within anti races discourse and and more widely explored how migrants are represented in European public discourse. 00:00:56.980 --> 00:01:07.300 And hopefully we have the time to talk to you more about the TRACE project than the work we do as well with charge organizations in Liverpool later on in the discussion. 00:01:07.570 --> 00:01:27.730 So, uh, we aim to examine uh the practices, but also the implications of curating storytelling within the context of positive migration discourses that are and and traditional, let's say, advocated by organizations supporting migrants. 00:01:28.260 --> 00:01:37.910 So we will focus specifically on how affect is mobilized in relation to wider discourses about migration and asylum seeking in the UK. 00:01:38.760 --> 00:01:53.550 So through this work, we aim to contribute to the development of a critical storytelling approach that combines narrative studies with critical discourse studies and bring to the fore narrative ideologies in the hope of empowering and migrant voices. 00:01:53.780 --> 00:02:26.410 But those of facilitating organizations communication of their cause, and we also want to know, uh, that there are critical points are not to be taken as dismissive of their efforts to support migrants and refugees, but more a call for critical reflection and to the often unintended consequences that using stories in certain ways may have, but also for further collaborative efforts to challenge the dominant or the naturalized migration discourses that are in circulation in the in the UK context. 00:02:26.680 --> 00:02:29.880 And we'll hopefully have the time to share with you some of the work we're doing. 00:02:30.520 --> 00:02:36.940 Uh, with some organizations in Liverpool and later on when we in the discussion so. 00:02:38.760 --> 00:03:12.700 Some background on migration, that is uh uh that continues to be highly politicized and salient issue in the UK and Europe and and although migrants have previously been delegated as strictly economic role in society and EU political and media debates, now very much center on the permanent integration of migrants within their host communities and especially given the resurgence of the right wing nationalist ideologist across Europe. 00:03:12.890 --> 00:03:17.940 But Problematize immigration, as a process of social, cultural and political integration. 00:03:19.180 --> 00:03:37.730 Uh, now within the UK context, these debates constructing integration as a two way process that involves the mutual establishing of social connection between refugees and host communities and that comprise the set of symbolic practices that accentuate again, nationality of citizenship. 00:03:38.000 --> 00:03:48.680 This means that migrants must become like other citizens, if not better, all together in order to be accepted by the UK Host Society. 00:03:49.290 --> 00:04:06.000 Now, our recent research has shown that migrant integration stories reproduce a dominant migration as transaction at this course that construct a migrant identities as grateful, resilient and as always, paying back to the Community that host them. 00:04:06.490 --> 00:04:22.690 And we've argued that these stories resonate with neoliberal discourse practices, and that valorized migrants where mobile and hardworking, and who legitimized their that legitimize their right to settle in terms of their market and economic value. 00:04:27.260 --> 00:04:49.810 Having said that, and charter organizations, non governmental organization and organizations and more widely like philanthropic organizations and are well established in the UK to support and assist migrants, so they provide various types of assistance in order to ascertain their eventual self sufficiency. 00:04:50.070 --> 00:05:03.270 And so they focus on appealing to the public for support and on convincing readers that refugees are worthy of their support and and advocating more positive and representation of migrations with the UK. 00:05:03.320 --> 00:05:06.980 So they align with an explicit humanitarian ethos. 00:05:07.640 --> 00:05:13.470 However, there involvement with migration governance is not that straightforward. 00:05:13.480 --> 00:05:27.340 It has been criticized by studies within the field of sociology, and although research has shown that they can bypass in a way they in positions of the state, but they can end up as well serving as outlets of national sovereignty. 00:05:28.860 --> 00:05:49.270 And this is because while, UM, uh, an explicit philanthropic, let's say social actor, may not intend to reproduce exclusionary frames or myths or national myths, and that kind of action they undertake is ultimately informed by their knowledge of institutional norms and expectations. 00:05:49.380 --> 00:06:00.520 So they're compliance with these norms becomes a process of creating and navigating conditions through which the tensions, if you want of a liberal migration practices, can be controlled. 00:06:00.670 --> 00:06:07.310 And so they end up reproducing institutional norms and expectations, despite their desire to do the right thing. 00:06:07.430 --> 00:06:22.600 You have here like a quote from UNHCR, which is the site of our of our data for the current presentation, where there's an explicit then mission to to ensure that everybody has the right to seek asylum, etcetera, etcetera. 00:06:26.450 --> 00:06:37.190 So before we move on to the specific of this study, we'll just and and set out our key terms and and how we bring together a storytelling and effect. 00:06:37.450 --> 00:06:46.600 So storytelling refers to communicative practices that serve to captivate and convince an audience through emotion and the sharing of inspiring stories. 00:06:47.110 --> 00:06:54.790 And we focus on the political economy of storytelling as the mobilization of stories for utilitarian ends. 00:06:55.130 --> 00:07:01.190 And so the stories we look at here are curated according to Fernando's. Fernandez. 00:07:01.360 --> 00:07:02.710 Is that they produce stories. 00:07:02.720 --> 00:07:13.100 Who are guided that are guided by neoliberal principles of upward mobility also and entrepreneurship and self reliance in the liberal context. 00:07:13.900 --> 00:07:19.340 So we explore these stories in terms of affective positioning, which extends an existing framework. 00:07:19.350 --> 00:07:37.160 So for the analysis of narrative identity positioning through addressing specific aspects for the construction of identities and with effect as it's ground, and involves the use of linguistic and discourse cues for navigating proximity to events, the characters, audiences, and and the self. 00:07:41.120 --> 00:07:47.290 So and our critical storytelling approach responds in a way to to cause for more approaches within critical discourse. 00:07:47.300 --> 00:07:53.170 Studies that embed narrative as a core component of the their conceptual architecture. 00:07:53.460 --> 00:08:17.150 So unlike other approaches and critical discourse studies and that have well documented storytelling and wider public discourse outside of reproduction of hegemonies and parations, as well as inequalities which shift our focus towards both the ideological orientation of the stories and story, it's storytelling as a specific practice and also ideologies embedded in narrative practice. 00:08:17.800 --> 00:08:26.860 So we see storytelling as the textual organization of narratives that leads to interpretations of events, identities, ideologies and discourse. 00:08:27.300 --> 00:08:49.570 So by placing narrative at the core of of this architecture and we that leads to the production and circulation of certain narratives within the UK social political context, we hope to align with the emancipatory potential of the narrative form in line with critical discourse studies and it and CDs is critical impetus according to Fortuner. 00:08:52.050 --> 00:08:56.980 So affective positioning we we explore that three different levels. 00:08:58.260 --> 00:09:09.760 Level 1 is the level of the tail world, so how are characters and their experiences presented in the tale world in terms of effect and the what kinds of emotions characters are performing? 00:09:09.970 --> 00:09:18.400 How are these emotions uncovered in specific places and times, and what kinds of activities characters engage in and their relations to other characters? 00:09:19.150 --> 00:09:24.330 Level 2 is the level of the story real where we look at the local conditions of story production. 00:09:24.950 --> 00:09:30.320 Also, distribution and participation with the focus on effective participation frameworks. 00:09:30.650 --> 00:09:51.200 So we're thinking about who participates in the effective climate of the story, who ratifies her contests, which part of the story, uh, which part of the story is affective and investment and how who Co authors what and how, what forms of what receive it is is used to affiliate readers around shared cultural values and forms of effect. 00:09:52.570 --> 00:10:04.850 And finally, at Level 3, we focus on why they're discourses and social narratives to explore what kinds of shared cultural values are indexed to create affiliation among writers, and what these courses are. 00:10:04.910 --> 00:10:10.220 They identify types of are are they identified types of positioning? 00:10:10.330 --> 00:10:24.790 Indexing and we look specifically at specific cues like emotion terms, direct speech representation and it's variants deictics naming expressions, use of syntax as well as multimodal elements. 00:10:27.260 --> 00:10:35.181 So our data uh it compress it comprises of 21 curated narratives of personal experience published by UNHCR. 00:10:35.220 --> 00:10:41.130 UNHCR as news stories on their website from 2016 to 2018. 00:10:41.660 --> 00:10:47.890 So there's a genre of these stories is a combination of a new story article and a human interest story. 00:10:48.560 --> 00:10:48.850 No. 00:10:48.860 --> 00:10:58.520 You know, you and HCR is a UN non for profit organization that provides international aid and protection for refugee communities. Sorry. 00:11:01.620 --> 00:11:19.320 So for this presentation, we focus on the findings for five narratives so far from a series called No Stranger Place, which is a collaboration with the photographer, robbery, weight to profile refugees and their hosts across Europe, across the whole Europe, including the UK, obviously pre Brexit. 00:11:22.130 --> 00:11:22.520 No. 00:11:22.530 --> 00:11:23.830 We take one narrative. 00:11:23.880 --> 00:11:32.730 Uh for this presentation as our focal point, this is the story of Abdul and his Hostess, Ingrid, and we've selected this story for analysis. 00:11:32.740 --> 00:11:37.720 One example of the way a personal experience story is curated in the case. 00:11:37.730 --> 00:11:48.220 As part of this UNCHR communication campaign, which mobilizes human interest stories of migrants to promote overall more positive representations. 00:11:48.790 --> 00:11:52.410 So what is distinctive in this story is the inclusion in the foreground. 00:11:52.570 --> 00:11:57.700 Think of the experience of the host and the Hostess as well as the refugee. 00:11:57.710 --> 00:12:08.000 So, unlike previous research that are refugee LED or centered, this is jointly host Hostess and Refugee Center. 00:12:08.670 --> 00:12:14.160 So our study of this story builds and finding findings from our previous work. 00:12:14.210 --> 00:12:32.060 The work I've done with Paige on autobiographical stories on the websites of charity organizations, as well as Korina's and Teresa Spiritist work on the curation of migrants, personal experience story in the case of the EU, protects campaign as part of the EU public narrative. 00:12:34.950 --> 00:12:39.160 So, UM, we use small stories. 00:12:39.170 --> 00:12:50.690 Heuristics, that is, ways of telling sites and tellers to scuffle the analysis and examine affective positioning as it emerges within the related storytelling practices. 00:12:51.140 --> 00:12:54.690 So in this case, the ways of telling are ways of telling. 00:12:54.780 --> 00:13:05.970 Are the organizational stories designed as an appeal to the public for support by by the by UNCHR and these are approaches as curated stories. 00:13:05.980 --> 00:13:16.700 As I said before and analyze in terms of both typical personal experience narrative categories, a drone from LA Boston model and in terms of elements of curation as well. 00:13:17.290 --> 00:13:26.040 Now the sites where the stories are shared are obviously the website of UNCHR and specifically the series title. 00:13:26.050 --> 00:13:36.160 No stranger plays, which is part of a wider campaign aiming at promoting, and I quote and the campaign compassion he'll hope and humanity. 00:13:37.600 --> 00:13:40.110 Now, tellers here are complex entities. 00:13:40.380 --> 00:13:50.060 Uh, as although the refugees and the hosts are seemingly the main tellers, the directing teller, obviously the UNCHR story designers and and the curators. 00:13:55.550 --> 00:14:07.850 So we'll first focus on the content of the of the entire story in order to draw attention to the ways of telling and to the aspects of curation before we move on to the linguistic construction of the characters and the affective positioning analysis. 00:14:08.630 --> 00:14:22.560 So the entire story is curated by weaving together to personal experience stories, that of Abdul, and in grade the Hostess, but also from quotes from both of them as well as Rose, Ingrid Sun. 00:14:24.350 --> 00:14:37.300 So the audience is so for the story of Abdul migraines migration experience, the story of Ingrid's migration experience and and the quotes from all three includes speech and thought representation. 00:14:37.730 --> 00:14:41.660 And they are strategically positioned 1 after the other in the conclusion of the story. 00:14:41.670 --> 00:14:45.360 And you can see them here starting with a blue Abdul. 00:14:45.370 --> 00:14:46.660 Then Ingrid then Rose. 00:14:47.150 --> 00:14:50.240 Uh, I'll give you maybe a second to go through the three quotes. 00:14:57.760 --> 00:15:03.950 So they foreground the key message of this human interest story, which is the importance of migrants. 00:15:04.040 --> 00:15:12.370 Interesting and inspirational stories of resilience for their recognition and acceptance as human beings by members of the host society. 00:15:12.680 --> 00:15:19.590 So let's look at more closely at the ways of telling and also in order to explain how we've arrived at this and main message. 00:15:21.970 --> 00:15:24.090 So this is the story of Abdul uh. 00:15:24.100 --> 00:15:29.720 I'll give you maybe a few a few seconds to to to read it before I I start discussing it. 00:15:50.510 --> 00:16:00.020 So the organization of Abdul story features the key elements of a canonical or typical narrative of vicarious experience, as described by Labov. 00:16:00.030 --> 00:16:00.520 And it's this. 00:16:00.570 --> 00:16:17.810 It's narrated in third person, so it opens within orientation parts, which also in a way serves as the abstract of the story in Latvian terms as well, where Abdul's box stories presented him thinks Syria and then his journey to the UK via the jungle in Calais. 00:16:19.010 --> 00:16:27.320 So the orientation is following is followed by evaluation parts as zooming in even briefly on his horrific experience in the jungle. 00:16:27.590 --> 00:16:29.520 And then they affective impact. 00:16:29.690 --> 00:16:34.500 This experience had on him, which can be even encapsulated through this quote. 00:16:34.510 --> 00:16:37.500 I've never felt so much terror in my life. 00:16:37.810 --> 00:16:58.970 Now the complication or main event that is ABDEL's eventual arrival to the British soap shores is presented along with the evaluation of that event as a positive event that brought joy to up to so you see, she was so happy he hugged the immigration officers who caught him and describing his experience in terms of change from a state of euphoria. 00:16:59.220 --> 00:17:01.690 Sorry, dysphoria to a state of euphoria. 00:17:04.780 --> 00:17:06.030 Now this Ingrid story. 00:17:06.040 --> 00:17:08.660 Have a quick look and then I'll discuss it. 00:17:22.330 --> 00:17:34.780 So Ingrid story also features the the key element of every curious narrative structure, starting with an orientation introducing her in the charity, then a compressed complication or main event compared to Abdel Story. 00:17:35.310 --> 00:17:40.030 And that describes basically how she ended up inviting Abdel to stay with her and her family. 00:17:40.390 --> 00:17:51.080 And then the story ends with an evaluation of that experience by Abdul, who describes her as a super mom and as someone to whom he's grateful and hopes to be able to repay in the future. 00:17:51.090 --> 00:17:51.300 Somehow. 00:17:52.300 --> 00:18:12.500 So in Ingrid's story, we learn a little bit more about what happened to Abdul after he reached the UK and we and the main message of the entire story, which is uh, which concentrates on English but never less than a supportive role in this integration, which in a way it takes precedence and center stage here to this story. 00:18:15.420 --> 00:18:19.470 So now we have a different, uh direct speech code quotations by abseiling. 00:18:19.480 --> 00:18:19.930 Great. 00:18:19.990 --> 00:18:22.530 And Rosa, Ingrid, son, have a quick look. 00:18:24.940 --> 00:18:26.200 They will discuss how they function. 00:18:46.490 --> 00:18:59.430 So direct speech quotations here serve as narrative evaluations with the persuasive function communicating the key aspect of characters, portrays and foregrounding the message of the entire story. 00:18:59.650 --> 00:19:07.040 So Abdullah portrayed not only as resilient, but also as willing to succeed in a context where success equals integration. 00:19:07.590 --> 00:19:14.480 Ingrid is portrayed not only as successful in her own as Hostess, but also has fulfilled by her hosting activity. 00:19:15.090 --> 00:19:20.720 And then Ingrid's and Rose is seem to acknowledge the tensions in this experience. 00:19:20.730 --> 00:19:44.940 When it says initially I was a bit taken aback by the idea, but then highlight the positive and the inspiration and aspects of this experience for him, constructing up tool as a role model, promoting positive representations of migrants and for grounding migrants, life experiences and stories as useful sites for reflecting on and also appreciating the comforts of the western lifestyle. 00:19:49.240 --> 00:20:00.350 So having looked at the ways of telling, we now turn our focus on affective positioning and and 1st, we look at the way characters are linguistically portrayed through the use of evaluation indexicals. 00:20:01.730 --> 00:20:10.970 So we concentrate on the strategic use of other assessments or speech and thought representations of emotional States and on other directed effects. 00:20:11.850 --> 00:20:13.580 What which here works as uh. 00:20:13.670 --> 00:20:28.260 By avoiding, for example, dehumanizing terms like counts or generalizing terms like migrant or asylum seeker to portray Abdul as a resilient, grateful, and hopeful, I'm and and ambitious thing nature. 00:20:28.750 --> 00:20:37.900 Who, in a way affectively repositions himself from stage States and positions of negative emotions to States and positions of positive emotions. 00:20:39.050 --> 00:20:49.700 Ingrid is is portrayed as a family woman, a professional like a doctor, but also an active citizen through her charity volunteering who supports and is proud of Abdul. 00:20:51.230 --> 00:20:51.820 Sorry. 00:20:52.450 --> 00:20:53.880 So throw these portrayals. 00:20:54.370 --> 00:21:06.020 Abdul and Ingrid are constructed as relatable characters whose experiences can resonate with the readers who stand in proximity to the readers and who are familiar and acceptable to the readers. 00:21:06.110 --> 00:21:08.620 So Abdel is a teenager who wants to go to university. 00:21:08.910 --> 00:21:20.960 And Ingrid is a mother of three, I think, and a professional as well as a UK citizen and relatable that is row reflective of even normative with even argue middle class representations. 00:21:24.610 --> 00:21:30.240 So at the level of the story real, we look at the local conditions of effective participation frameworks. 00:21:30.670 --> 00:21:38.180 So asking who is expected to empathize with whom and why, and what lines of affiliation, or even disaffiliation are drawn up for audiences? 00:21:39.210 --> 00:21:54.360 So our analysis points to shifts in the story from portrayals of self centered effect in personal experience stories to other directed effects which are used here as contextualizing affective devices that create an indexical order. 00:21:54.570 --> 00:21:59.110 And guess which specific types of migrants are seen as worthy of the host support? 00:22:00.620 --> 00:22:14.520 So these devices are direct and indirect markers of aggressivity as well as shifts in tactics and personal pronouns like from eye to you and you to I sorry, have a quick look at the the quotes in in in bold. 00:22:25.140 --> 00:22:40.330 So here the change in date like from before to now and mark the transformation of the characters from passive to agentive also the here is juxtaposed to there for grounding the UK as an idealized heartland. 00:22:41.220 --> 00:22:46.790 So this shifts in the arctics and pronouns frame a UK centered, effective participation framework. 00:22:47.400 --> 00:23:02.900 Also, interestingly, you pay me back, represented as a authored by Ingrid frames the transaction as a shared perception pointing to Abdul and other refugees hosted by Ingrid as worthy of support. 00:23:04.470 --> 00:23:06.900 They're also more explicit aspects of curation. 00:23:07.310 --> 00:23:10.700 Uh, which you can see lower down that are selected codes. 00:23:10.710 --> 00:23:16.990 Decontextualized but also visually for grounded that bring forward the main message of this human interest story. 00:23:18.480 --> 00:23:19.010 Sorry. 00:23:19.260 --> 00:23:26.370 So though we've and selected the codes that are changes in the ethics and pronouns we did, we did that. 00:23:26.430 --> 00:23:37.770 We've curated that, but then the codes below are the contextualized and selected by the and the UNCHR. 00:23:39.230 --> 00:23:58.610 And so they bring forward the main message of this human interest story, and we argue a through the words of merman, know that all the direct effect here can have this psychological effect on the audience that goes beyond that of usual talk, facilitating the appearance of the storytellers viewpoint. 00:24:01.360 --> 00:24:03.690 So the the wider level? 00:24:03.780 --> 00:24:04.430 Uh. 00:24:04.440 --> 00:24:18.090 The wider discourses, so we focus on how choices in level one and two, what they indicate for why they're discourses of acceptability and of appropriateness of affective experiences for migrants and hosts. 00:24:18.500 --> 00:24:20.660 So we address in a way that. So what? 00:24:21.530 --> 00:24:24.700 But it's deemed valuable beyond the story context. 00:24:26.150 --> 00:24:26.410 Sorry. 00:24:27.210 --> 00:24:32.600 So we observe that I identity positions for refugees that are acceptable citizens. 00:24:33.090 --> 00:24:42.080 Not only willing to integrate to the whole society, but prepared to express their gratitude for being accepted, reproduces any deadness. 00:24:42.090 --> 00:24:50.100 Slash gratefulness of refugee to host individuals and by extension to the host society discourse. 00:24:51.410 --> 00:25:02.590 So this this course is going is dominant and it's uh it we've seen it in previous work pointing to an ideal refugee with grateful, motivated and resilient despite the traumatic past. 00:25:04.730 --> 00:25:20.900 Also, the discourse of uh hosting refugees is rewarding serves to frame the UK as a welcoming society that, with the portrayal of Ingrid and all her associated attributes at level one and two of the metonymy in a way of the UK Horses Society. 00:25:23.940 --> 00:25:29.170 Also, discourses of assimilation, like learn the language, find a good job, or go to university. 00:25:29.420 --> 00:25:46.090 Uh are also couched in narratives of integration, and we've seen that in previous work, but also in relationships of dependence, and we'd like to stress this as the relationship between the hosts and the refugee constructed in this story is portrayed as a relationship of dependence. 00:25:46.140 --> 00:25:48.840 And indebtness of refugee to host. 00:25:49.300 --> 00:25:58.720 And it is through the inevitability of this dependence that the refugee can eventually become independent and self sufficient. 00:25:59.140 --> 00:26:24.660 And it is presented as a requisite to successful integration that speaks to a neoliberal paradigm and also finally the construction of a refugee as worthy of receiving help, but also the hosts as fulfilled by offering help, reproduces the UK as white saviour discourse of according to our colleague, some Bennett has been historically in the UK and it has its roots in the UK's colonial past. 00:26:28.100 --> 00:26:42.330 So to conclude and we want to point out on the impact this positionings have on the ways, asylum, seeking and migration more broadly, but also the migration, have experienced more broadly, is communicated to the wider public. 00:26:42.500 --> 00:26:53.670 So the shifts from personal experience stories of migrant journeys to stories of migrants, success and integration, links to exclusions and qualities in migrant support. 00:26:53.840 --> 00:26:58.650 So our only some migrants worthy of support, if only specific ideal. 00:26:58.780 --> 00:27:00.220 My grants are emblematized. 00:27:00.230 --> 00:27:08.820 Through these stories, the only some migrants have rights and who gets to decide who these are or are only the stories inspiration? 00:27:08.830 --> 00:27:11.350 Does it have to be this specific stories inspiration though? 00:27:13.520 --> 00:27:36.330 And we also observed that the emergence of canonized forms of positive migrant storytelling that is used as an efficient tool of communication and persuasion where migrant personal experience stories are curated in ways that for ground migrants thymic trajectory from dysphoria to euphoria following their effective repositioning. 00:27:36.560 --> 00:27:44.320 So this canonization secures in a way, the involvement of the audience as a cooperative recipient, and this can also be problematic, obviously. 00:27:46.110 --> 00:28:07.660 And and and finally we hope to have contributed to a critical approach to storytelling by cross fertilizing narrative analysis with critical discourse studies and paying attention to the localized discourse is about migrants and migration, but also to narrative ideologies which are indexed in curated storytelling practices. 00:28:08.140 --> 00:28:15.880 So this ideologies are meta, pragmatic models that link specific ways of telling with types of social situations and and then. 00:28:16.160 --> 00:28:20.090 And that's regiment the telling of stories in the domain of social life. 00:28:21.420 --> 00:28:41.720 So we we wanted to call for reflection on this course representations and project it affective and identity positions of migrants and host by looking at how for aspects of localized posted discourses about migrants and migrations and the migration and the wider discourses, they seem to be couched in. 00:28:44.380 --> 00:28:45.210 This is a. 00:28:45.250 --> 00:28:46.570 This are a references. 00:28:46.640 --> 00:28:49.210 I'm sure there's a lot to discuss. 00:28:49.220 --> 00:28:52.430 Thank you very much and we're happy to share with you. 00:28:53.190 --> 00:28:58.800 And all the work that is related in a way to this presentation during discussion. 00:28:58.810 --> 00:28:59.210 Thank you. 00:29:00.810 --> 00:29:02.270 I should probably stop sharing, right? 00:29:06.500 --> 00:29:07.660 I think, Jenny, you're on mute.